Carel Jacob Lodewijk Ruijsch van Dugteren (2 August 1910 - ?), nicknamed "Captain Ross", was a South African commando of Dutch extraction who helped liberate the World War II Nazi camp Westerbork in the Netherlands. He also served as aide-de-camp to Prince Bernhard of the Netherlands during Operation Market Garden.
Ruijsch van Dugteren was born in Amsterdam to the preacher Gregorius Pieter Abraham Ruijsch van Dugteren and his wife Jacoba Wilhelmina Niermeijer. He emigrated to South Africa, where he became a farmer in northern Transvaal Province. On 7 March 1937, he married Victorine Hermance Ploem. They had two children.
Following the outbreak of World War II and the Nazi occupation of the Netherlands, he was called up for service in the Prinses Irene Brigade due to his Dutch extraction. In 1942, he took part in a commando training in the Scottish Highlands, after which a Dutch commando unit was formed, No. 2 Dutch Troop, which included Ruijsch van Dugteren with the rank of reserve second lieutenant.
During Operation Market Garden in 1944, Ruijsch van Dugteren served as aide-de-camp to Prince Bernhard of the Netherlands, having been promoted to the rank of first lieutenant. On 5 September 1944 he, along with two corporals and two privates, were assigned to Prince Bernhard as his personal guard.
He served as a Jedburgh officer during Operation Amherst, the Allied liberation of the northern part of the Netherlands in 1945. In April 1945, a four-man Jedburgh team codenamed "Dicing" was dropped near Hooghalen in the province of Drenthe. The team included the Dutch commandos Arie Bestebreurtje and Ruijsch van Dugteren, now holding the rank of captain. Bestebreurtje sprained his ankle during the parachute drop and was unable to continue; he hid from the Germans for five days before attracting the attention of a local farmer, who hid Bestebreurtje on his farm. Ruijsch van Dugteren on the other hand was able to contact a local resistance leader and successfully executed his mission: to give instruction in weapons use to local resistance fighters and organize resistance activities against the Germans.<ref name="vanderwerff" />
On 12 April 1945, Ruijsch van Dugteren noted in his diary that he had been one of the first to enter the World War II Nazi camp Westerbork during the liberation of the camp by Allied troops that day.<ref name="vanderwerff" />
Ruijsch van Dugteren was born in Amsterdam to the preacher Gregorius Pieter Abraham Ruijsch van Dugteren and his wife Jacoba Wilhelmina Niermeijer. He emigrated to South Africa, where he became a farmer in northern Transvaal Province. On 7 March 1937, he married Victorine Hermance Ploem. They had two children.
Following the outbreak of World War II and the Nazi occupation of the Netherlands, he was called up for service in the Prinses Irene Brigade due to his Dutch extraction. In 1942, he took part in a commando training in the Scottish Highlands, after which a Dutch commando unit was formed, No. 2 Dutch Troop, which included Ruijsch van Dugteren with the rank of reserve second lieutenant.
During Operation Market Garden in 1944, Ruijsch van Dugteren served as aide-de-camp to Prince Bernhard of the Netherlands, having been promoted to the rank of first lieutenant. On 5 September 1944 he, along with two corporals and two privates, were assigned to Prince Bernhard as his personal guard.
He served as a Jedburgh officer during Operation Amherst, the Allied liberation of the northern part of the Netherlands in 1945. In April 1945, a four-man Jedburgh team codenamed "Dicing" was dropped near Hooghalen in the province of Drenthe. The team included the Dutch commandos Arie Bestebreurtje and Ruijsch van Dugteren, now holding the rank of captain. Bestebreurtje sprained his ankle during the parachute drop and was unable to continue; he hid from the Germans for five days before attracting the attention of a local farmer, who hid Bestebreurtje on his farm. Ruijsch van Dugteren on the other hand was able to contact a local resistance leader and successfully executed his mission: to give instruction in weapons use to local resistance fighters and organize resistance activities against the Germans.<ref name="vanderwerff" />
On 12 April 1945, Ruijsch van Dugteren noted in his diary that he had been one of the first to enter the World War II Nazi camp Westerbork during the liberation of the camp by Allied troops that day.<ref name="vanderwerff" />
The JavaScript Archive Network (JSAN) is an on-line collaborative resource to develop Open Source libraries and software for JavaScript. JSAN's aim is to create the JavaScript equivalent of Perl' s CPAN. For example, the module Joose is an equivalent to the CPAN module Moose. In addition there is Test.Simple and other modules that are very similar to their Perl counterparts.
Background
JSAN was created by Casey West in 2005. Due to social reasons Casey West left the project. With the master website lost, people could not upload modules, and JSAN had several other limitations in its development, and it was considered "dead". On May 2009, the site was revived and new modules started being added.
Design
JSAN works as a CPAN module, using a nearly identical testing system and directory structure. Documentation is written in POD which is used within JavaScript comments. The documentation is then converted to HTML and other formats with Perl POD modules. Some of the newer techniques used in JSAN are considered to be "test runs" for new features to be added to the design of the "6PAN", the CPAN upgrade intended to match the Perl 6 language.
Background
JSAN was created by Casey West in 2005. Due to social reasons Casey West left the project. With the master website lost, people could not upload modules, and JSAN had several other limitations in its development, and it was considered "dead". On May 2009, the site was revived and new modules started being added.
Design
JSAN works as a CPAN module, using a nearly identical testing system and directory structure. Documentation is written in POD which is used within JavaScript comments. The documentation is then converted to HTML and other formats with Perl POD modules. Some of the newer techniques used in JSAN are considered to be "test runs" for new features to be added to the design of the "6PAN", the CPAN upgrade intended to match the Perl 6 language.
The Esoteric Order of Art or EOA is an art movement founded in Finland in the year 2005 by two artists, Tapani Mokko and Marianne Kaunio. Its basic principles emphasizes the mystical aspects of art and the individuality of the artist.
Five thesis of the Esoteric Order of Art
I. Personality
Esoteric Art doesn't follow trends or movements in the arts. The chosen subject matter shows the personality of the artist. Then the subject matter will alter in the mind of the artist. It will be influenced by memories and conscious choosing. The artist is in a constant dialog with the subject matter and through this dialog it will evolve.
II. Honesty
External influences should not corrupt the artist. Work should always reflect the inner self or soul and the experiences of the artist. It takes courage to see yourself in the creation. The most challenging thing in the whole creative process is to face your inner self and your subconscious world. True involvement to the creation comes from signing it with your soul. The maker must listen to himself/ herself and change only when it feels right.
III. Mysticality
A great deal of mysticality that is evident in the esoteric art comes from the subconscious. Subconscious messages should not be censored or beautified - they should be as raw and strange as they usually are. The way for a subconscious to become conscious is through free association and sensitivity towards reality. Creatures, symbols and places that you come across in the Esoteric are from the dreams of the maker.
IV. Emotion
To devote oneself to the emotionality is one of the most important qualifications of the Esoteric. It liberates imagination and makes possible to travel far away to the unknown territory. Art can also wake forgotten emotions from ones own past. Going through emotions in the perspective of a beholder can be liberating experience. A human can experience all the possible emotions in the art without ever losing the sense of security. Exaggeration and theatricality are approved effects of the art.
V. Idea
Art that has some idea can wake and excite . An idea doesn’t have to be on the level of the conception - it can be in the way of realization, for example in the painting technique. The most important thing is the makers thought process and the reflection of that.
Notes and references
Examples of Esoteric Art in the United Kingdom
http://www.youtube.com/watch?v=44zVT_M2UpM
http://www.youtube.com/watch?v=DD1QnXbxMEM
http://www.youtube.com/watch?v=lS-bwuM8ipQ
Five thesis of the Esoteric Order of Art
I. Personality
Esoteric Art doesn't follow trends or movements in the arts. The chosen subject matter shows the personality of the artist. Then the subject matter will alter in the mind of the artist. It will be influenced by memories and conscious choosing. The artist is in a constant dialog with the subject matter and through this dialog it will evolve.
II. Honesty
External influences should not corrupt the artist. Work should always reflect the inner self or soul and the experiences of the artist. It takes courage to see yourself in the creation. The most challenging thing in the whole creative process is to face your inner self and your subconscious world. True involvement to the creation comes from signing it with your soul. The maker must listen to himself/ herself and change only when it feels right.
III. Mysticality
A great deal of mysticality that is evident in the esoteric art comes from the subconscious. Subconscious messages should not be censored or beautified - they should be as raw and strange as they usually are. The way for a subconscious to become conscious is through free association and sensitivity towards reality. Creatures, symbols and places that you come across in the Esoteric are from the dreams of the maker.
IV. Emotion
To devote oneself to the emotionality is one of the most important qualifications of the Esoteric. It liberates imagination and makes possible to travel far away to the unknown territory. Art can also wake forgotten emotions from ones own past. Going through emotions in the perspective of a beholder can be liberating experience. A human can experience all the possible emotions in the art without ever losing the sense of security. Exaggeration and theatricality are approved effects of the art.
V. Idea
Art that has some idea can wake and excite . An idea doesn’t have to be on the level of the conception - it can be in the way of realization, for example in the painting technique. The most important thing is the makers thought process and the reflection of that.
Notes and references
Examples of Esoteric Art in the United Kingdom
http://www.youtube.com/watch?v=44zVT_M2UpM
http://www.youtube.com/watch?v=DD1QnXbxMEM
http://www.youtube.com/watch?v=lS-bwuM8ipQ
Carpetball is a game that involves knocking all of an opponent's balls into their end of the carpetball table. It is often found at camps and youth facilities.
Table
A carpetball table is a long tray approximately and off the ground. These dimensions do not have to be exact. It is covered with fabric or indoor/outdoor carpet (hence the name) and has a shallow pocket running the entire width of either end. The end pockets are deep enough for a standard pool ball and should be broad enough that most balls will drop in, but not so broad that a ball moving with great force goes in.
Balls
Carpetball is played using standard pool balls. The cue ball is used as in conventional pool. Carpetball may be played with three-five balls on a side.
Rules
Consistent rules
* Balls may be arranged in any position within arm's reach of a player's end.
* Win by knocking all of the opponent's balls into their tray.
* When all of a player's balls are knocked in, the player gets a last roll ("mercy shot").
* If a ball goes into the tray and then bounces out, it is still in play.
* Any ball that crosses the halfway mark is considered a dead ball, and is put in the player's pocket.
* The opponent has the first shot.
* In the event of a tie, players start over with only one ball. Add a ball with each tie, and eventually continue the rotation.
Player rotation variations
* The winner stays on the table while challengers queue at the other end. If the former winner loses, the new winner switches ends. The loser goes to the back of the line.
* Alternatively challengers wait in two lines at either end of the table. The challenger replaces the loser who goes to the back of the line.
Run-away balls
Rules on how to deal with run-away balls have significant regional variations. These rules are important for safety reasons to discourage wild throws. Knocking a ball out of the table can forfeit the game, allow the opponent to replace the ball anywhere, force the player to sacrifice one of their own balls. Knocking a player's ball into the opponent's tray can forfeit the game, put the ball out of play.
Strategy
The initial ball placement is the primary decision in carpetball. The most common setups are: 1) half of the balls on each side of the player's end, 2) all balls in a row pointing at the opponent and 3) one ball on each side of the table with the rest in a row.
Better players carefully choose which of the opponent's balls to target first.
Table
A carpetball table is a long tray approximately and off the ground. These dimensions do not have to be exact. It is covered with fabric or indoor/outdoor carpet (hence the name) and has a shallow pocket running the entire width of either end. The end pockets are deep enough for a standard pool ball and should be broad enough that most balls will drop in, but not so broad that a ball moving with great force goes in.
Balls
Carpetball is played using standard pool balls. The cue ball is used as in conventional pool. Carpetball may be played with three-five balls on a side.
Rules
Consistent rules
* Balls may be arranged in any position within arm's reach of a player's end.
* Win by knocking all of the opponent's balls into their tray.
* When all of a player's balls are knocked in, the player gets a last roll ("mercy shot").
* If a ball goes into the tray and then bounces out, it is still in play.
* Any ball that crosses the halfway mark is considered a dead ball, and is put in the player's pocket.
* The opponent has the first shot.
* In the event of a tie, players start over with only one ball. Add a ball with each tie, and eventually continue the rotation.
Player rotation variations
* The winner stays on the table while challengers queue at the other end. If the former winner loses, the new winner switches ends. The loser goes to the back of the line.
* Alternatively challengers wait in two lines at either end of the table. The challenger replaces the loser who goes to the back of the line.
Run-away balls
Rules on how to deal with run-away balls have significant regional variations. These rules are important for safety reasons to discourage wild throws. Knocking a ball out of the table can forfeit the game, allow the opponent to replace the ball anywhere, force the player to sacrifice one of their own balls. Knocking a player's ball into the opponent's tray can forfeit the game, put the ball out of play.
Strategy
The initial ball placement is the primary decision in carpetball. The most common setups are: 1) half of the balls on each side of the player's end, 2) all balls in a row pointing at the opponent and 3) one ball on each side of the table with the rest in a row.
Better players carefully choose which of the opponent's balls to target first.